Eternalism, a method for creating an appearance of sustained three-dimensional motion-direction of unlimited duration, using a finite number of pictures

ABSTRACT

The method uses three pictures, A, B and C, two of which are substantially similar pictures having images, A, B, and one that is dissimilar, usually a solid color, C. Continuous movement is created by repetitively viewing the series A, B, C. Additionally, each picture can be blended or superimposed to create a blended A/B, CIA and B/C and then the blend put together with the others, in a series, C/A, A, A/B, B, B/C, C. This series is then repeated a plurality of times to create an illusion of sustained, ongoing motion with a degree of three-dimensionality, with synchronous Pulfrich light-filtering available to enhance the effect.

BACKGROUND OF THE INVENTION

1. Field of the Invention

This invention relates to visual art and, more particularly, to a methodfor producing an appearance of continuous movement using a finite numberof pictures, i.e., as few as two pictures.

2. Art Related to the Invention

Movies are generally made from a series of single, non-repetitivepictures which are viewed at a speed that provides the viewer with theappearance of continuous movement. These series of single pictures arepositioned in adjacent picture frames, in sequential order, whereinadjacent pictures are substantially similar to each other and vary onlyslightly from each other. Usually, movies are created using moviecameras, which capture the actual movement of the object; with animatedmovies, a series of individual pictures or cells are created, usually byhand or computer, and assembled in sequential order where adjacentpictures of a scene are substantially similar to each other and varyonly slightly. Standard film projection is 24 frames per second,American video standard NTSC is 30 f.p.s.

The appearance of continuous movement, using only two substantiallysimilar pictures, has been accomplished in live performance bysimultaneous projection of both images onto a screen, wherein onepicture may be slightly off-set from the other picture as they appear onthe screen, and by rotating a two-bladed propeller, wherein thepropeller blades are set off from one another by 180 degrees, in frontof and between the two projectors such that the two images are made toboth alternate and overlap in their appearances, with both images inturn alternating with an interval of complete darkness onscreen whenboth projections are blocked by the spinning propeller. A viewer, usingno special spectacles or visual aids, perceives a scene of limitedaction (with a degree of illusionary depth) that can be sustainedindefinitely in any chosen direction: an evolving yet limited actionappears to be happening continually without visiblereturn-and-start-over repetition. Thus the viewer sees a visual illusionof an event impossible in actual life. Similarly, the manner in whichthings appear in depth are likely to be at odds, often extremely so,with the spatial character of the original photographed scene. Further,the character of movement and of depth has been made malleable in thehands of the projectionist during performance (so much so that suchfilm-performance has been likened to a form of puppetry); the physicalshifting of one of the two projections changes the visual relationshipbetween them and thereby the character of the screen event produced.Similarly, small changes during performance in speed, placement anddirection of propeller spin will cause radical changes in the visualevent produced onscreen.

Other visual arts which relate to the present invention are the Pulfrichfilter. For one program, titled “Bitemporal Vision: The Sea”, viewerswere invited to place a Pulfrich light-reducing filter before one eye toboth enhance and transform the already apparent depth character of thepresentation.

The Pulfrich effect is brought about by reducing the light intensity ofthe image to either right or left eye (to match direction of on-screenforeground objects), usually by use of a dark filter before an eye(further explanation below). In the Pulfrich effect, electronicsignaling in connection with a series of visual events are used todetermine when and for how long and for which eye the darkening of theimage is to take place. Signaling may be by direct wire connection tothe electronic data of the picture being viewed, or by remote light orsound signaled from the picture data source or by any other method ofsynchronization. Spectacles for the viewer with liquid crystal displaylenses which can be individually triggered to clear or partly occlude,blocking off a portion of light from reaching either eye, is one methodof achieving the on/off darkening effect required by the Pulfricheffect. Another method is to shift the axis of Polaroid filters, oneabove the other, in relation to each other. Another way is to employrows of micro-louvers on electronic signal, to swing between twopositions: open, in line with the line of sight, or closed, edge toedge, partially blocking the line of sight.

In the Pulfrich filter effect, interference by the light-reducing filterhas the effect of retarding the light that does pass through it to theeye. As long as forms and objects are changing position relative to eachother as pictured frame to frame, a delayed picture seen in combinationwith a present-moment picture offers two slightly different picturessimultaneously to the mind. Thus an artificial three-dimensional imagecan be produced by the mind utilizing the same mechanisms that allow it,in viewing actuality, to produce a three-dimensional mental image fromthe pair of two-dimensional perspective-images received fromhorizontally adjacent eyes. The artificial 3-D image, depending as itdoes on a variable report of actuality. A Pulfrich filter used to viewactual three-dimensional space will distort that space (assuming thescene is in motion). Similarly, depth in a screen-image can bedistorted, and in manifold ways, including reversal of near and far anddirection of motion flow. Such distortions can have expressive artisticvalue.

Limited to presentation in live performance, such unique visualphenomena as described has been transient theater. Attempts to capturethe phenomena by way of video-camera recording of the screen-image havebeen disappointingly compromised, so that in over 25 years of suchpresentation (of so-called “Nervous System Film Performances”) noattempt has been made to commercialize such recordings.

The Pulfrich Effect to determine (in timed accordance with pictureddirectional motion on-screen) when and for how long darkening of thescreen image takes place and for which eye, right or left, would haveapplications beyond use with Eternalized movies. Video games and othervideo movies featuring extended screen movements to left or right could,in many instances, be enhanced for viewers by Pulfrich projection intothree dimensional depth. For many such screen events—for instance, ascene filmed or videotaped from a moving vehicle, especiallyperpendicularly, with the camera aimed at or close to a 90 degree anglefrom the side of the vehicle convincingly realistic deep space wouldresult. A stipulation of realistic deep space, as made available by thePulfrich Effect, is that the partial light-absorbing filter be beforethe eye on the side to which the pictured foreground objects are seen tomove. If filming or videotaping was to be done with the camera aimedperpendicular to a vehicle's path of movement, and the camera was on thedriver's side, motion onscreen would flow screen-left, and the Pulfrichfiltering would therefore have to take place before the left eye; thusthe need to switch dark-filter placement from eye to eye in accordancewith direction of screen movement. The filter works best when there isessentially horizontal movement; when viewing an unmoving orinappropriate image, both left and right eye filters should clear.Presented as electronic media, such images would benefit from timedapplication of appropriate Pulfrich filtering. This aspect of theinvention would allow 3-dimensional movies to be created and presented(less spectacles) with the same cinema technology used for making andpresenting ordinary 2-dimensional movies.

SUMMARY OF THE INVENTION

A method has now been discovered for originating visual illusions offigures and spaces in continuous movement in any chosen direction usinga finite number of pictures (as few as two pictures) that can bepermanently stored and copied and displayed on motion picture film orelectronic media. The method of the present invention entails repetitivepresentation to the viewer of at least two substantially similar imagepictures alternating with a third visual interval or bridging picturethat is substantially dissimilar to the other substantially similarpictures in order to create the appearance of continuous, seamless andsustained directional movement.

Specifically, two or more image pictures are repetitively presentedtogether with a bridging interval (a bridging picture) which ispreferably a solid black or other solid-colored picture, but may also bea strongly contrasting image-picture readily distinguished from the twoor more pictures that are substantially similar. In electronic media,the bridge-picture may simply be a timed unlit-screen pause betweenserial re-appearances of the two or more similar image pictures. Therolling movements of pictorial forms thus created (figures thatuncannily stay in place while maintaining directional movement, and donot move into a further phase of movement until replaced by a new set ofrotating units) is referred to as Eternalisms, and the process ofcomposing such visual events is referred to as Eternalizing.

The three film or video picture-units are arranged to strike the eyessequentially. For example, where A and B are the image pictures and C isthe bridging picture, the picture units are arranged (A, B, C). Thisarrangement is then repeated any number of times, as a continuing“loop”. The view of this continuing loop allows for the perception of aperceptual combining and sustained movement of image pictures (A, B).Naturally, if this loop is placed on a film strip, then it is arrangedand repeated in a linear manner (A, B, C, A, B, C, A, B. C, A, B, C,etc.). The repetition of the sequence provides an illusion of continuousmovement of the image pictures (A, B); with bridging picture (C),preferably in the form of a neutral or black frame, not consciouslynoticed by the viewer at all, except perhaps as a subtle flicker.

A more fluid or natural illusion of continuous movement from a finitenumber of image pictures is provided by using two of each of the threepictures and repeating the cycle of the pairs sequentially, or byblending adjacent pictures together on an additional picture-frame andplacing the blended picture between the pictures in sequential order.The two image pictures (A, B) are now blended with each other to produce(A/B); the two image pictures are also blended with the bridging pictureto produce (C/A and B/C), and then all pictures repeat in a seriesstarting with the bridging picture (C, C/A, A, A/B, B, B/C) each blendedpicture being represented by the two letters with a slash therebetween).This series is repeated a plurality of times to sustain the illusion aslong as desired. Repeating the sequence with additional blended framesprovides more fluid illusion of continuous movement of the (opticallycombined) two image pictures (A, B).

Additionally, various arrangements of the pictures and the blends can beemployed in the present invention and need not be the same each time. Byvarying the order of pictures in the sequence, the beat or rhythm of thepictures is changed. For example, A, B, C can be followed by A, A/B, B,B/C, C which in turn is followed by A, A, A/B, B, B, B, B/C, C, C, C, C,i.e. A, B, C, A, A/B, B, B/C, C, A, A, A/B, B, B, B, B/C, B/C, C, C, C,C, A, B, C, A, etc.

With A and B frames being similar images (such as a pair of normaltwo-eye perspective views of a three-dimensional scene from life), andframe C a contrasting frame (preferably a solid-color picture instead ofan image-picture) relative to A,B, frame C acts as essentially a“bridge-interval” placed between recurrences of A,B. Any color can beused for the contrasting frame C: for example, blue, white, green;however, black is usually preferred. The contrasting frame can also bechosen from one of the colors in one of the two image pictures. Forexample, if one of the image pictures has a large patch of dark blue,then the color of the contrasting frame, bridging picture, may be darkblue.

Blending of the pictures is accomplished in any manner which allows forboth pictures to be merged in the same picture frame. Thus, the term“blending” as used in the specification and claims can also be calledsuperimposing, since one picture is merged with the other picture.Blending is done in a conventional manner using conventional equipment,suitably, photographic means, a computer, an optical printer, or a rearscreen projection device. For animated art, the blending can be done byhand as in hand drawing or hand painting. Preferably, a computer isused. Suitable software programs include Adobe Photoshop, Media 100 andAdobe After Affects. Good results have been obtained with Media 100 fromMultimedia Group Data Translations, Inc. of Marlborough, Mass., USA.

When using Media 100, suitable techniques include additive dissolving,cross-dissolving, and dissolving-fast fix and dither dissolving.

In blending the pictures, it is preferred to use 50% of one and 50% ofthe other. However, the blending can be done on a sliding scale, forexample with three blended pictures, a sliding scale of quarters, i.e.75%A/25%B, 50%A/50%B, 25%A/75%B. Good results have been obtained with a50%/50% mix, i.e. a blend of 50%A/50%B.

The two image pictures, A and B, which are visually similar to eachother, are preferably taken from side-by-side frame exposures from amotion picture film of an object or image or that is moving such thatwhen one is overlaid with the other, only a slight difference is notedbetween the two images.

Alternatively, the two image pictures are identical except that one isoff-center from the other. The direction of the off-center, e.g. up,down, right, or left, will determine which direction the series providesthe appearance of movement, e.g. if image picture B is off-center fromimage picture A to the right of A, the series of C, C/A, A, A/B, B, B/Cwill have the appearance of moving from left to right. Likewise, if youreverse the order of appearance then the appearance of movement will beto the left.

More than two image pictures can be used in the invention. Likewise,more than one bridging picture can be used in the present invention. Forexample, four image pictures can be used along with one bridgingpicture. In this case, the series for the four image pictures,designated A, B. D and E, would be: C, A, B, D, E; or a 50/50 blend C,C/A, A, A/B, B, B/D, D, D/E, E, E/C; or side-by-side pairs, C, C, A, A,B, B, D, D, E, E.

The image picture need not fill the picture frame. Furthermore, morethan one image picture can be employed per frame. Thus, the pictureframe can contain a cluster of images and the image or images need notnecessarily filling up the entire frame. Also, only portions of imagepictures can be used to form the image used in the present invention.

Also, image pictures and portions of the image picture can be combinedsuch that the combination is used as the second image picture. Theportion of the image picture is offset from the first image picture whenthey are combined such that there is an appearance of movement. Forexample, a window from image picture A can be moved slightly while thebackground remains the same, the picture with the moved window isdesignated image picture B and the two combined to create the appearanceof the window moving and/or enlarging or shrinking in size. In thiscase, both picture A and picture B are identical except for theplacement of the window in the image picture. The same can also be doneby using an identical background in both image pictures andsuperimposing on both pictures an image which is positioned slightlydifferent in each picture. The image could be a window, as before, of aman walking, for example.

The number of series which are put together can be finite if it is madeon a length of film or infinite if it is set on a continuous cycle orloop wherein it repeats itself.

Broadly, the invention is a method for creating an appearance ofcontinuous movement with a plurality of picture frames using three ormore pictures, said method comprising:

-   -   a) selecting at least two image pictures, a first image picture        and a second image picture, which are visually similar;    -   b) selecting a bridging picture which is dissimilar to said        image pictures;    -   c) arranging said pictures in a sequential order to create a        first series of pictures, said sequential order being one or        more first image pictures, one or more second image pictures,        one or more bridging pictures;    -   d) placing said first series of pictures on a plurality of        picture frames wherein each picture of said first series is        placed on a single frame; and    -   e) repeating the first series of pictures a plurality of times        to create a continuous plurality of picture frames having said        first series thereon, such that when said plurality of picture        frames are viewed, an appearance of continuous movement is        perceived by a viewer.

Preferably, step-(c) is replaced with the steps comprising:

-   -   (c1) blending said first image picture with said bridging        picture to obtain one or more blended first-bridging picture;    -   (c2) blending said first image picture with said second image        picture to obtain one or more blended first-second picture;    -   (c3) blending said second image picture with said bridging        picture to obtain one or more blended second-bridging picture;    -   (c4) arranging said pictures in a sequential order of one or        more bridging pictures, one or more of said blended        first-bridging picture, one or more of said first image picture,        one or more of said blended first-second pictures, one or more        of said second image picture, one or more of said blended        second-bridging picture to create a first series of pictures.

The start or end of the sequences doesn't matter since the sequence isplaced in a continuous loop, however, the order of the pictures in theloop is critical in the practice of the present invention.

These and other aspects of the invention may be more fully understood byreference to one or more of the following drawings which have beenchosen for illustration purposes.

BRIEF DESCRIPTION OF THE DRAWINGS

FIGS. 1 a-1 c illustrates the present invention with three pictures;

FIGS. 2 a-2 c illustrates the present invention using three picturesalong with blended pictures;

FIGS. 3 a-3 c illustrates the present invention using the same picturewherein one is offset from the other;

FIGS. 4 a-4 b illustrates the present invention with side-by-side pairsof pictures;

FIGS. 5 a-5 c illustrates the present invention wherein pictures G and Hare identical but image F has been imposed in a slightly differentlocation;

FIGS. 6 a-6 c illustrates pictures of two women in Eternalism with twopictures;

FIGS. 7 a-7 c illustrates the women of FIG. 6 with a 50-50 blend betweenthe women and the women and the bridging frame;

FIGS. 8 a-8 c illustrates the same women in two different perspectives(not apparent to normal viewing as pictured here), joined to create anEternalism;

FIGS. 9 a-9 b illustrates the doubling of the frames from FIG. 6;

FIGS. 10 a-10 b illustrates the two women with a smaller frame depictinga portion of one woman repeated and overlayed in the upper left-handcorner of the frame to create a separate depth-configuration within thelarger frame;

FIG. 11 illustrates a combination of the two women with a portion of theone woman both in the bridging frame as well as in one of the framesthat contain both women;

FIG. 12 illustrates Eternalism with two women and a circle movingthrough the frames; and

FIG. 13 illustrates the Pulfrich filter.

DETAILED DESCRIPTION OF THE INVENTION

FIG. 1 a illustrates the three pictures that are employed in the methodof this invention. Picture A, illustrated with lines slanting upwardleft to right, and Picture B, illustrated with lines slanting downwardfrom left to right. Both pictures A and B are single frame photographssuch as two side-by-side frames taken from a movie film showing movementof an object, for example, a woman walking down a street or a manwalking his dog. Such side-by-side frames would be similar to each otherbut not identical. Picture C is a solid black picture.

In FIG. 1 b pictures A, B and C are arranged in sequential order, andplaced on picture frames to form a series. In FIG. 1 c this series isthen repeated to produce the appearance of movement by pictures A and B.

Turning to FIG. 2 a and the use of blended pictures, the three picturesare combined to produce a blend of C/A, blend of A/B and a blend of B/Cby using Adobe Photoshop or another program to make a 50/50 blend of thethree pictures.

In FIG. 2 b, all six pictures are placed side-by-side to create a seriesand the series is copied to create a continuous or semi-continuous filmvideo or computer sequence where the series is repeated a plurality oftimes as shown in FIG. 2 c.

FIGS. 3 a-3 c illustrates an alternative three pictures that areemployed in the method of this invention. Picture D and Picture E bothillustrate a capital A, however, in Picture D, the capital A is alignedwith the center of the frame while in Picture E the A is off-set to theright of the center of the frame (exaggerated here to be visible; inactual practice the displacement of figures might be so subtle as to notbe discernable as illustrated here). Picture C is identical to Picture Cin FIG. 1 a.

The capital A is chosen for FIGS. 3 a-3 c for illustration purposes andcould be a single photograph of anything.

The three pictures are placed side-by-side to form a series. Finally,the series is copied a plurality of times to form a repeating series.The repeating series in FIG. 3 c creates the optical illusion that theletter A is moving from left to right and, if one letter A were to beslightly different in size from the other, the letter would appear to bemoving in depth, i.e. given a third dimension.

In FIGS. 3 a-3 c the background of Picture E is identical to thebackground of Picture D except that the image A is off-set slightly tothe right.

FIGS. 4 a-4 b illustrates the present invention where the series is twoof each picture placed in side-by-side frames. It has been found thattwo pictures side-by-side are visually equivalent to a blend. In otherwords, a series of A, A, B, B, C, C is visually equivalent to a seriesof CIA, A, A/B, B, B/C, C.

Additionally, a series made in accordance with the present inventionneed not be uniform in that the pictures can be arranged to provide adifferent rhythm or beat to the film. For example, the series could be:C/A, C/A, A, A/B, A/B, B, B, B, B/C, C, C, C. Different arrangementsprovide different visual perceptions.

Furthermore, a plurality of different series can be combined together,i.e. C/A, A, B, B, C with C/A, C/A, A, B, B, C, C to form C/A, A, B, B,C, C/A, C/A, A, B, B, C, C.

FIGS. 5 a-5 c illustrates the invention where both pictures areidentical except for the position of a superimposed image F on thepictures. Image F could be taken from the original picture G or could betaken from another picture, which is separate and distinct from picturesG and H. For example, pictures G and H could have the common backgroundof a country side road while image F is a man walking his dog. Inpicture G, the man and his dog is placed at one location while onpicture H the man and his dog is placed at a different location on thecountry road. By viewing the repeating of a series of G. H, C, a vieweris given with the impression that the man is walking his dog down theroad, from top of the frame towards the bottom of the frame, appearingto be continually moving in the same direction without changing hisactual position.

Furthermore, image pictures can be identical except that when they arearranged in the frame, one is oriented slightly tilted relative to theother. The repeating series provides the visual perception that thepicture is spinning.

Also, the size of or the orientation of image F in FIGS. 5 a-5 c can bevaried while maintaining the location of image F. Varying the size givesthe viewer the impression that the man is walking forward or backward,depending on the order in which pictures are arranged. Changing theorientation or tilting of image F leaves the viewer with the impressionthat the man is spinning.

The repeating series can be viewed in any media, it could be digitalizedor placed on conventional film for viewing.

The movement created by the invention is seamless movement, sustainedfluid entirely on-going movement.

Continuous movement means the illusion of a progressive action that cansustain as such into infinite time. For instance, a door beginning toopen, it keeps beginning to open without ever progressing to the stageof actually opening. A door, in reality, in order to repeat this verylimited movement, would have to move back and forth, recoveringterritory in order to go forward again, but in this visual illusion thedoor only moves forward. A normal film or video might approach thiseffect by multiple printing of the picture frames depicting only theforward motion, so that a return motion would be hidden from audienceeyes, but the effect would be of a visual stutter, the action would berepeating, and not continuous. The “stutter” could be made less obviousand percussive by dissolving head frames of the shot into tail frames,but only with some subject matter (i.e., a waterfall) might the repeatcharacter of the motion not be apparent.

The appearance of transfixed continuous motion (a going without goinganywhere) is created in this invention from a specific employment offlicker, the contrast created by viewing the slight shifting of apictured form or forms between the image pictures in opposition to thebridging picture. Movies have always been dependent for their illusionof continuity on flicker-rates; silent movies filmed at 16 frames persecond required 3-bladed shutters not only to block projection lightduring the successive replacing of frames but also to twice interruptthe display of each frame so as to achieve a flicker rate that theviewer would mistakenly see as uninterrupted light. Slow cranking of thefilm through the projector gave rise to “the flickers” as a pejorative.Video and computer image-continuity depends likewise on rapid on-offdisplay. The present invention purposely makes flicker apparent,utilizing the effects of emphatic flicker on the human optical/nervoussystem to create uncanny time and space illusions.

Simple alternation of a single image picture with intervals of blackness(or any other interrupting color/s) is enough to create subtle illusionsof continual sliding movement across the screen. Alternations of twoimage pictures with an interrupting interval of a solid colored pictureprovides any number of continuous motions, including motion intoillusionistic depth. While such screening-illusions of movement anddepth resemble movements and depths as seen in actuality; this is acreative artistic method and not intended as a reliable way of reportingthe actuality that may have existed in front of a camera.

As noted above, no special viewing devices are required to view thepresent invention, although certain effects can be enhanced or putthrough interesting changes when viewed with a filter intercepting andreducing light to one eye; the “Pulfrich Effect”.

Remarkably, with the present invention, depth illusions can beexperienced even by the single-eyed person. Normally our perception ofdepth, stereopsis, depends on properly functioning binocular vision, twoeyes working in tandem with each other; one of the benefits of thisinvention is to offer visual depth experience to those deprived of suchexperiences by physical defect. Because contrasting perspectivalinformation is available to both or either eye, a single eye becomessufficient to deliver the information to the brain when employing thepresent invention.

The present invention is best created on the computer, to be viewed onthe computer or transferred to film or any video format. It can also becreated directly onto film or video but the precision control possiblewith the computer is lacking.

The present invention can employ very small shifts in the placement ofobjects as seen in one picture in relationship to another similarpicture. Such small object-placement shifts are also to be found in thesimultaneously exposed pairs of frames made with a stereo still-camera,its two lenses placed horizontally apart approximately the distancebetween human eyes. The stereo still-camera offers object-placementdifferences derived, as with our two eyes, from a fixed interval ofspace: the twin perspectives recorded by lenses 2½ inches apart. Thedegree of inter-ocular distance, as it is called, enormously affects thecharacter of depth to be seen when the stereo-pair is properly viewedone picture to each eye; depth would seem very distorted, either tooshallow or too extended (with other depth aberrations) if the distancebetween our eyes was not being matched by the two-lens stereo-camera.

In contrast to stereo-camera photography, with the single-lens motionpicture camera (film or video), exploitable difference between likeimages arises from the interval of time between picture-exposures,during which the objects filmed shift in spatial relationship to eachother; or/and the camera itself moves, capturing the 3-dimensional scenefrom another perspective, and thus shifting two-dimensional placement ofpictured objects (which may not have moved in actuality) as recordedexposure to exposure. Because distance or direction traversed by thecamera between exposures is not constant, nor movement by subjectsrecorded under photographer control, the visual equation oftwo-dimensional similarities and differences from which 3-dimensionalmovements will be constructed can not produce scenes as reliablylife-like as can simultaneous stereo-exposures with a fixed horizontaldistance of 2½ inches between a pair of lenses. Eternalism 3-D movementsmade from sequential exposures are not intended to offer scientific datapertaining to reality but instead to provide odd and expressiveimpossible-in-reality impressions.

The stereo still-camera provides a pair of mentally combinable left andright eye flat image pictures; viewed one picture to each eye,similarities and differences are automatically assessed and a semblanceof familiar depth is seen. We gaze from plane to plane into a seemingdepth, the angling of our two eyes “crossing” for close objects andspreading to parallel alignment for very distant ones (Yet we remainfocused on the same plane in depth, the actual plane of the picturesurface; in life, we constantly refocus as well as angle for differentdistances.) We are not conscious, either in actual life or when lookinginto such artificial depths, of the doubling of forms (as they fall backinto 2-dimensionality) at distances that we are not at the momentangling for. This automatic angling operation of the eyes cannot happenwhen looking with both eyes at the same territory of flat picturesurface. The coinciding of opposing 2-dimensional perspectival viewingsof an object (by which volume can be conceived by the mind) must be donefor the viewer, a task greatly enabled by the computer.

The present invention revolves each set of picture-units in place, butif a figure from one perspective is not placed in a correspondinglysimilar position in its frame (and in matching horizontal alignment)with its representation as recorded from another perspective, there isonly a 2-dimensional jiggering with no volume illusion or continuousdirection of movement created. With the computer, one can slide andplace one picture, or an area of that picture, into exact relationshipwith a matching picture or area so as to achieve the precise effectdesired. (A recorded object becomes an area within a flatpicture-image.) The slightest advance in a particular direction of thecontour of one area in relation to its match-up area determines movementin that direction. Slight shrinking or enlargement of one area comparedto the other creates a “zooming” in or out effect. A problem inoverlaying one entire picture over another in order to match up one areausually means other areas will not coincide, not synchronize; but thecomputer allows for each area to be matched separately and inlaid intothe scene according to one's depth-movement intention's for each area.The crazy-quilt artificiality of a scene can be hidden or obvious, itsparts drawn from a single-pair source of related images or from as manysources as desired. Photo-images can be mixed with or replaced by drawnand painted imagery. The scene can imitate real life one moment and veeroff into impossibility the next.

Again, although only two image pictures are usually cycled, more thantwo can be worked into a cycle to create a particular effect. Followingand inventing variants on the directions above, and the formula asdescribed below for sequencing frames, will create the impression ofsolid entities moving in a charmed dimension where normally transientphysical gestures can endure forever. In fact, computer interactivitycan mean the viewer deciding how long the effects of each seriescontinues. Further interactivity will give the viewer the option toplace picture of his/her own choice into this unique cycling system.

FIGS. 6 a-6 c shows two phases of an action, A & B, plus blackbridge-frame C. We see the pictures separately in FIG. 6 a; madesequentially adjacent to each other in FIG. 6 b and presented as arepeating series of pictures, as a “loop” or “cycle”, in FIG. 6 c.

FIG. 7 a demonstrates the creation of intermediary or blended framesbetween A,B and C, which are 50-50% blends producing A/C, A/B & B/C.FIG. 7 b shows them in sequence and FIG. 7 c shows them repeating as anongoing loop.

FIG. 8 a shows one figure in isolation, removed from the previous scene.Pictures D & E may appear identical but are actually two differentperspectives which together make possible a 3-dimensional figure. Whilethe recording camera remained in a fixed position the figure movedbefore it, frame after frame, making two perspectives possible. Becausethe figure moved to different positions in the two film frames, it wasnecessary to move one figure in one frame so that both figures wouldoccupy the same location in both frames. It is now possible to see themas a single 3-dimensional figure when the frames cycle in quicksuccession together with the bridge frame as shown in FIG. 8 c.

FIGS. 9 a and 9 b represents the doubling of each frame in an A,B,Cseries.

FIGS. 10 a-10 c shows a section of picture G & H is repeated in theupper left corner. When observed in quick succession this series willshow the two center figures in one configuration of depth and the insetseries as an opposing configuration of depth. Left eye/right eye viewsas placed in G & H are reversed in the inset figure, so that parts ofthe figure that (3-dimensionally) approach the viewer in the largerpicture are seen to retreat away from the viewer in the smaller picture,and visa versa.

FIG. 11 illustrates two sets of four; with both similarities (J, K, M)and differences (L, N) between the sets, including in the upper leftcorner an action that straddles bridging frame (M) and picture frame(J). Note the bridging frame is not completely blank or colored.

FIG. 12 illustrates an example of an Eternalism effect coexisting withmore normal screen action, and of an Eternalism repetition taking placebut with no two frames exactly alike: a visual element (the circle)proceeds frame to frame throughout as it would in a normal movie,unaffected by Eternalism looping. Again, note that the bridging frame isnot completely blank.

FIG. 13 is an illustration of Pulfrich filter spectacles: (1) clear, (2)activated to partly block light reaching figure's right eye; (3)activated to partly bock light reaching figure's left eye. Liquidcrystal reaction is one method of achieving the blocking effect.

The invention can also be described as follows:

Description of the Eternalism optical phenomena:

The idea of an interval of action running in place without apparentbeginning, middle and end, forever swelling or turning or rising oropening, forever seeming to evolve without ever actually doing so (untilgiven a determined release into a further phase of development), can beliterally unimaginable, so alien is it to our experience. Neither inlife or on film or in electronic imagery has it been possible to createthe optical illusion of a door forever cracking open or a musclerippling or head turning or any other limited gesture continuing as suchinto potentially unlimited time—until advent of this invention. We havetermed this phenomenon Eternalism, and we speak of pictured forms orobjects, scenes or gesture being Eternalized into Eternalisms. A furtherbenefit of this invention is enhanced 3-Dimensionality of Eternalizedimages, a 3-D that can be reasonably life-like or radically at odds withdepth as we know it.

Consider, for example, the action of a door opening. And select fromthat entire action only the fraction of time that it would take for thedoor to just begin to open, as it cracks open a narrow space alongsidethe doorframe, with the outer edge of the door swinging over little morethan an inch of flooring. Designating this very limited time-spaceinterval as a movie “shot”. The most minimal movie shot possible, itconsists of only two running frames of film or video.

In reality, there would be no way to sustain into unlimited time thevery limited action of the door cracking open; to keep opening and onlyopening yet never moving past that very limited phase of just crackingopen. This motion is not repeated but sustained. The reality, of course,is that to remain in motion, and in forward motion only, one would haveto move the door to a further phase of motion: the door would have toopen wider. And the designated space-time interval would be left behind.

This is similar to someone walking against the direction of a conveyerbelt walkway (as at an airport) and at exactly the same speed of theconveyer belt, continually walking forward yet getting nowhere. TheEternalism technique is a sort of cinematic conveyer belt moving in anopposing direction to any moving image placed on it.

It is a conveyer belt with a beat, a flicker, a visual beat capable ofsupple changes. In the history of cinema, flicker—referring to visibleintervals of darkness between flashes of successive film-frames,intrusive reminders of the mechanical basis of the cinematicillusion—has been a pejorative term. To commercially entertain, thetechnology needed to quickly outgrow flicker. Yet in doing so some otherillusionistic potentials of the art, very curious departures fromlife-like representation, were never discovered, their expressivepotential left untapped, until now.

Method

Visible flicker is essential to Eternalism technique, which investigatesand utilizes different intensities of emphasis, frame choices andframe-counts of flicker in order to create entirely new illusions toaugment cinema's repertoire of visual effects. Today's audiences areentirely receptive to non-realistic representation, the textures ofvisual technologies are no longer unwelcome onscreen. Visible flickerdoes sometimes appear in movies in purposeful ways, usually representinglightning or machine-gun bursts, and even as rhythmic hits oflight-energy, but not with the methodology and results of Eternalisms.

No less than three basic units, two pictures and a bridge-interval (A,B, C), are necessary to create an Eternalism, even when picture B mightbe only a slight modification, a shifting or size reduction or expansionor tilting, etc. of picture A. On the simplest level, the series ofunits would proceed: A, B, C, A, B, C, A and so on. Each unit intervalmay be of any effective time duration, an effective smooth-workingduration for computer assembling is two frames per unit, shown here asA,A, B,B, C,C, A,A, B,B, C,C, A,A and so on. It is sometimes desired toinsert transitional frames, usually 50/50% (percentage mixture may vary)superimposed frames of adjacent units, shown here as: A, A/B, B, B/C, C,C/A, A and so on.

Additionally, all re-appearances of the basic cycling units comprisingan Eternalism needn't be exactly the same. Strict mechanical repetitioncan give way to flexible variation within the limits imposed by what isnecessary to sustain the motion/depth illusion (unless one chooses toabandon the illusion entirely for a period of time; it is expected thatfor commercial movie use of the method, that the effect would be usedintermittently, for selected scenes). Any number of factors comprising aunit-sequence may be altered from appearance to appearance as it cycles,including colors, shapes, placement of shapes, objects pictures, unitduration, etc., so that the same Eternalism would seem to remain in playwhile going through subtle or even vibrant internal changes, beforebeing replaced by a successive phase of motion or a distinctly otherselection of picture/interval units. Change in the order of units, suchas A, B, C, A, B, C, A being replaced by B, A, C, B, A, C, B wouldinitiate an immediate reversal in direction of pictured movement.Varying durations of units within an Eternalism or traveling fromEternalism to Eternalism may not only make for desired beat and rhythmchanges but also affect the apparent character of motion and/or depth ininteresting ways. A composer of a series may even choose to play againstits smooth continuity by momentary unit-replacement or interjection byother picture units, as for instance: A,A, B,B, C,C, A,D, B,B, C,E,C,A,A. The entire screen may Eternalize with the same sequential rhythm(usually the case) or different parts may sequence with differentrhythms to different pictorial effect.

Many techniques commonly in use in computer and hand-crafted movieanimation can be adapted to Eternalism use. For instance, similar toscreen combinations of photographed reality with animation cartooning,only a section or sections of the screen image may be Eternalized whilenormal movie motion proceeds in other sections. Or a figure in normalmotion may move through an Eternalized scene. Or, among othercombination possibilities, a smaller Eternalism (which can be an objector shape or a separately framed scene) may be imbedded within a largerEternalism, or may float before it, or move—substantial yetghostlike—through it.

Stereo vision and special requirements of Eternalism composition:

Eternalism images may be so composed as to create an impression of3-dimensional volume, designed to appear more or less realistic, butnever with the degree of realism as to fool anyone that they are otherthan images. No one will ever attempt to sink a hand into one to grab atpassing fish as children do at Sony I-MAX. Eternalism depth is readilyapparent and yet more problematic, as is its character of movement.Depth isn't simple there to be taken for granted, but seems constantlycaught in the act of being generated out of flat elements. Eternalism isan illusion of depth. Our minds are given the task of entertainingtogether two conflicting impressions: of things simultaneously appearingboth flat and deep. However, the degree of 3-dimensionality that isthere can be seen without need of special viewing devices of any sort,and in fact can be seen by many persons normally deprived of any3-dimensional vision (those missing sight in one eye, for instance).

Depth as well as ongoing movement must be artificially composed in themaking of Eternalisms. Calculated placement of areas to be brought intoworking correspondence within a picture A and picture B is of paramountimportance.

It does happen that images are recorded on film or in electronic mediathat work effectively enough when sequentially overlayed with each otheras-is, so as to need little or no cut-and-paste rearrangement. But moreoften there are areas not adequately corresponding in sequentiallocation and therefore, when alternated quickly, will merely bounce backand forth from place (in A-frame) to place (in B-frame). In normalstereo-vision ones two eyes angle in and out from parallel alignment asthey match corresponding areas on their two retinal images. Each retinalimage is in fact 2-dimensional; 3-dimension vision is a result of thismuscular matching, this pulling-into-alignment activity performed bymuscles surrounding the eyes (as dictated to by viewers focus ofinterest) activity by the eyes and the mental comparing and processingof like and unlike information sent by each eye to the brain. Onlywithin a very limited interval of actual depth, up to about twenty fivefeet distance for most humans, can we effectively shift and overlayforms so as to discriminate depth accurately (eyes work in parallelbeyond that distance, with greatly reduced depth distinction). Thecloser to the eyes the target of focus, the more the eyes have to cross,and the different degrees or angles of crossing demanded as thingsapproach or recede means that while one layer of depth will be properlyshifted to overlay figures, others will not be. Selective focusing andshift in real-life visual experience, selectively attending to the 3-Dfigures creates in the mind, while ignoring—helped by a “dominanteye”—the remaining non-overlayed and doubled flat figures remaining inthe twin fields of vision, peripheral to the focus of attention.

Ignoring such peripheral mismatchings in Eternalisms does not come sonaturally. Because the image pictures alternate in appearance, theydon't quietly superimpose (with one image largely discarded from minddue to our having a “dominant eye”): non-overlayed areas will tend tojiggle and bounce, usually a distraction. Unless that is the effectwanted in a particular instance, the procedures of artificiallyoverlaying A and B picture-areas for the viewer will be carried outthroughout an Eternalism composition, into all peripheral areas of thepicture. Again, this can be done employing computer graphicscut-and-paste techniques, with the filling of areas left emptied (byremoval or shifting of a form) usually accomplished by the extending ofadjacent colors.

Picture-frames A and B may be near-identical or have only some elementswith close visual correspondence. Similarity of shape and locationwithin the frame are important factors determining the effect. This istrue to the point that entirely different pictured objects but ofsimilar shape and on-screen location will give better results than twoimages of the same object recorded from perspectives too far apart orplaced too far apart within consecutive frames, in which case the imageswill be seen to vibrate or bounce back and forth without visuallycombining into a single moving form. While matching image elements inpictures A and B must occupy almost the exact screen-space in order tocombine properly, it will be the differences between them (within closetolerances) that will produce and determine the character of movementand dimensionality. Computer graphics cut-and-paste techniques can beused to select and place, shrink and expand and otherwise manipulatematching elements (from any source) into effective screen-locationsrelative to each other. One or both pictures may be collaged or stitchedtogether from multiple sources, parts may be removed or inserted, liftedand reshaped or/and relocated. Even when the image is photographed fromlife and appears life-like, the process of composition can be asexacting and labor-intensive and involved with techniques of artifice ascartoon animation.

EMBODIMENTS

In practice, the implementation of this technique opens up a new worldof visual effects. Its uncanniness may be emphasized to createunsettling time-space aberrations for comic or dramatic effect inmovies. Or, aiming for more realistic appearance, the method could beused to provide more lively “snapshots” of familiar things and events.For instance, people could carry, programmed into a Palm Pilot-type“electronic wallet”, a great many (low memory demanding) moving replicasof loved ones in characteristic living gestures, with heightened3-dimensional presence. Even very limited movement, limited3-dimensionality, can enormously augment and reinforce visualinformation: i.e., a child's face breaks into a smile. Again, the verylow demand of electronic memory by an Eternalism (cycling as few as twopicture-frames with an interval of darkness), makes possible extensivelyillustrated electronic catalogues or even encyclopedias, supportinghundreds and eventually thousands of Eternalized illustrations. Areader-viewer might observe a home appliance in operation. Or study avisual sampling of an ocean wave breaking in its sweep to shore, studyit as has never been possible before, forever breaking from peakascendancy. One may study a springing cat, sheath of muscles slidingover ribs continually, available for sustained observation; or follow aclear demonstration of the direction a screwdriver must turn to furtherimbed a screw. Any number of instances where stereo-dimensional action(often audio-accompanied, as audio also demands little computer-memory)would communicate so much more than a still and flat image, or even amoving but flat image.

It will be understood that the claims are intended to cover all changesand modification of the preferred embodiments of the invention hereinchosen for the purpose of illustration which do not constitute adeparture from the spirit and scope of the invention.

1. A pair of spectacles for creating three-dimensional images fromtwo-dimensional moving picture frames comprising: a pair of eyeglassesthat cover both a right eye and left eye of a viewer of saidtwo-dimensional moving picture frames; a left lens for which thetransmission of light can be individually controlled; and a right lensfor which the transmission of light can be individually controlled; andwherein said transmission of light can be a clear state allowing 100%transmission of light, or partial darkening that partially reduces thetransmission of light. wherein electronic synchronization signalscontrol the transmission of light through said left lens and said rightlens, so that when said movement of objects on the screen is; from leftto right said left lens is clearer than said partially darkened rightlens; from right to left said right lens is clearer than said partiallydarkened left lens; non-existent, said left lens and said right lens areclear. whereby two-dimensional motion pictures may be viewed as 3-Dmotion pictures.